{"id":6582,"date":"2016-03-14T17:51:59","date_gmt":"2016-03-14T12:21:59","guid":{"rendered":"http:\/\/13.201.39.237\/?p=6582"},"modified":"2026-07-17T22:18:09","modified_gmt":"2026-07-17T16:48:09","slug":"eeb-allay-ooo-review-a-timely-portrait-of-the-indian-migrant-crisis","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=6582","title":{"rendered":"Eeb Allay Ooo! Review: A Timely Portrait of the Indian Migrant Crisis"},"content":{"rendered":"\n<span class=\"dropcap\">T<\/span>here\u2019s a scene in National Award-winning director Prateek Vats\u2019 striking debut, <em>Eeb Allay Ooo!<\/em> that succinctly captures the degradation of the Indian working class.\n\nAs NDMC personnel assemble an iron cage meant to curb the monkey infestation in Delhi\u2019s Raisina Hill, filling it with bananas to trap monkeys, one of them locks Anjani (Shardul Bharadwaj), a young <a href=\"https:\/\/www.arre.co.in\/social-commentary\/migrant-dead-in-train-toilet-how-many-deaths-are-isolated-incidents-again\/\">migrant<\/a> inside the coop. The workers outside stand around mocking Anjani even as his pleas to be let out grow more and more desperate. \u201cEat like a monkey,\u201d they tell him, throwing bananas into the cage. Bent on all fours and almost on the verge of tears, Anjani does what they say. Soon, he starts gasping for breath. The crowd responds to his humiliation and panic with laughter. On the surface, this scene might come across as a routine act of <a href=\"https:\/\/www.arre.co.in\/technology\/digital-self-harm-cyberbullying-teenagers\/\">bullying<\/a> that is so often dressed as Indian camaraderie. But Vats digs deeper, smartly using both the prank and the pranksters as a stand-in for the power imbalances of a system designed to reduce migrant labour into animals in captivity. Anjani\u2019s helplessness in that moment mirrors the tragic fate of hundreds of contractual labourers who move to cities to forge a new destiny but somehow find themselves stripped of all dignity.\n\nThere couldn&#8217;t be a more timely reminder of the fragility of migrant life, the precariousness of livelihood, than right now, when we&#8217;re watching it all unfold in real-time. Vats&#8217; debut, written by Shubham, has been frighteningly perspicacious.\n\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/13.201.39.237\/wp-content\/uploads\/2026\/07\/1590908359.jpg\" alt=\"eeb_allay_ooo\" width=\"732\" height=\"407\" class=\"alignnone size-medium wp-image-65102\" \/>\n<p>There couldn&#8217;t be a more timely reminder of the fragility of migrant life, the precariousness of their livelihoods, than right now, when we&#8217;re watching it all unfold in real-time.<\/p>\n<p>NaMa Productions<\/p>\n<\/figcaption>\n<\/figure>\n\nA biting political satire as assured in its filmmaking as it is of its commentary, <em>Eeb Allay Ooo!<\/em>, that premiered at Mumbai Film Festival last year, is a singular achievement. Deftly blending the frustrations and contradictions of the social, political, and economic realities of society, it paints a portrait of a nation in crisis, one that acquires an added poignancy during the <a href=\"https:\/\/www.arre.co.in\/pov\/my-marriage-evolved-in-the-lockdown\/\">lockdown<\/a> and the mass exodus of migrants. The film unfolds through the eyes of Anjani, a twenty-something migrant who lives in a cramped one-room settlement in the poorest part of the city with his pregnant sister and brother-in-law. An 11th pass with no employable skills, Anjani is easily expendable in a city bursting at the seams with people like him, jostling to make ends meet. As it turns out, he is also one of the lucky ones, landing a job as a monkey repeller, entrusted with scaring away the simian population lurking around the seat of power in Delhi. Except, his joy is short-lived.\n\nFor one, the task at hand isn\u2019t as easy as it is made out to be. Not only is Anjani frightened of the animal he is meant to overpower but he\u2019s also not cut out for the job. His rendition of \u201cEeb Allay Ooo,\u201d the sound made by the langurs, the enemies of these apes, meant to scare them, isn\u2019t entirely persuasive or productive. Moreover, the job isn\u2019t well-paying and is logistically unfeasible. When he complains about his unhappiness to his sister, she sees no reason in it. \u201cIt\u2019s a government job,\u201d she reminds Anjani, implying the societal and financial accomplishment that the stability of a government job provides for families like her, operating well below the poverty line. \u201cIt\u2019s a contractual job,\u201d he corrects her. But the bigger truth is that Anjani has no alternatives. \u201cBe grateful that you have a job,\u201d his sister tells him. The implication being, you could so easily not have one in the blink of an eye.\n\nThe threat of <a href=\"https:\/\/www.arre.co.in\/pov\/what-losing-a-job-in-the-middle-of-a-pandemic-and-sliding-economy-feels-like\/\">unemployment<\/a> lurks in every corner of <em>Eeb Allay Ooo!<\/em> For Anjani, contractual labour is almost like a family inheritance: His sister toils day and night \u2013 even at times with no electricity \u2013 as a \u201cpiece-rate\u201d worker to package large batches of spices to sell to a middle man who has, for the last two years, refused to increase her pay. Her husband works the night-shift as a security guard at an amusement park, cycling long stretches to cover the journey when the whole world is asleep. This is the kind of household that perennially exists at the mercy of others. Employment is a necessity. But their gruelling jobs that demand complete obedience in an economy always on the lookout for cheap, convenient labour, come with zero guarantee or agency.\n\nDespite their best efforts and even after putting in long hours, the circumstances never seem to get better. <em>Eeb Allay Ooo!<\/em> argues, without losing touch of its empathy, that the systems in place ensure just that. When Anjani, convinced that Mahinder (played by Mahinder Nath, a real-life monkey repeller), whose family has been in the profession for generations, is withholding some tricks from him, he takes to adopting shortcuts to keep his job. Yet just when his methods seem to make his circumstances work for him, his fate works against him (he makes use of a slingshot but soon finds out that harming the monkeys is forbidden and when he puts up posters of langurs to scare the monkeys, it lands his boss in trouble). He becomes a regular victim of his superior\u2019s rage, is soon handed a pay-cut for taking a tea break, punished for trying to gain an upper-hand in the arrangement, and one fine day, fired without pay.\n\n<blockquote class=\"quote--center\">The irony of <em>Eeb Allay Ooo!<\/em>\u2019s premise, that is humans creating jobs for other humans to terrorise an animal that they also worship as god, is ripe material for a black comedy.<\/blockquote>\n\nThe irony of the film\u2019s premise, that is humans creating jobs for other humans to terrorise an animal that they also worship as god, is ripe material for a black comedy. But it is to Vats\u2019 credit that he locates the moral epicentre of the story as a social satire. The closest <em>Eeb Allay Ooo!<\/em> comes to mining its comic potential lies in the stretches of interactions between a terrified Anjani and the horde of monkeys (giving terrific reaction shots) who refuse to pay heed to him. Like the film, these scenes are enlivened by Bharadwaj\u2019s emotionally expressive face that doesn\u2019t miss a beat in capturing Anjani\u2019s hopelessness and ingenuity in equal measure. It is aided by Soumyananda Sahi\u2019s fluid cinematography which is arresting not only in how it translates ignominy into action but also in how it transforms Delhi into a living protagonist.\n\nAs a result, <em>Eeb Allay Ooo!<\/em> becomes a rousing indictment of the double-standards of a society that is heavily reliant on migrants but all too happy to look away from them when it is convenient. It\u2019s this cyclical plot of the family&#8217;s never-ending dehumanisation that drives home <em>Eeb Allay Ooo!<\/em> strongest message: Monkeys aren\u2019t what we should really be scared of. Instead, it\u2019s humans.\n","protected":false},"excerpt":{"rendered":"<p>There couldn&#8217;t be a more timely reminder of the fragility of migrant life, the precariousness of their livelihoods, than right now, when we&#8217;re watching it all unfold in real-time. Prateek Vats&#8217; debut, Eeb Allay Ooo!, is a frighteningly perspicacious political satire.<\/p>\n","protected":false},"author":103,"featured_media":6585,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[82],"tags":[10642,10643,4056,10644],"class_list":["post-6582","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-culture","tag-eeb-allay-ooo","tag-migrat-crisis","tag-prateek-vats","tag-working-class"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Eeb Allay Ooo! 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